DOCSLIB.ORG

WO 2008/103269 Al

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
WO 2008/103269 Al (12) INTERNATIONAL APPLICATION PUBLISHED UNDER THE PATENT COOPERATION TREATY (PCT) (19) World Intellectual Property Organization International Bureau (43) International Publication Date PCT (10) International Publication Number 28 August 2008 (28.08.2008) WO 2008/103269 Al (51) International Patent Classification: (81) Designated States (unless otherwise indicated, for every G05B 19/18 (2006.01) kind of national protection available): AE, AG, AL, AM, AO, AT,AU, AZ, BA, BB, BG, BH, BR, BW, BY,BZ, CA, (21) International Application Number: CH, CN, CO, CR, CU, CZ, DE, DK, DM, DO, DZ, EC, EE, PCT/US2008/001965 EG, ES, FI, GB, GD, GE, GH, GM, GT, HN, HR, HU, ID, IL, IN, IS, JP, KE, KG, KM, KN, KP, KR, KZ, LA, LC, (22) International Filing Date: LK, LR, LS, LT, LU, LY, MA, MD, ME, MG, MK, MN, 14 February 2008 (14.02.2008) MW, MX, MY, MZ, NA, NG, NI, NO, NZ, OM, PG, PH, PL, PT, RO, RS, RU, SC, SD, SE, SG, SK, SL, SM, SV, (25) Filing Language: English SY, TJ, TM, TN, TR, TT, TZ, UA, UG, US, UZ, VC, VN, ZA, ZM, ZW (26) Publication Language: English (30) Priority Data: (84) Designated States (unless otherwise indicated, for every 60/902,066 20 February 2007 (20.02.2007) US kind of regional protection available): ARIPO (BW, GH, 11/865,681 1 October 2007 (01.10.2007) US GM, KE, LS, MW, MZ, NA, SD, SL, SZ, TZ, UG, ZM, ZW), Eurasian (AM, AZ, BY, KG, KZ, MD, RU, TJ, TM), (71) Applicant (for all designated States except US): GA- European (AT,BE, BG, CH, CY, CZ, DE, DK, EE, ES, FI, METANK, INC. [US/US] ; 138 - 37th Avenue, San Mateo, FR, GB, GR, HR, HU, IE, IS, IT, LT,LU, LV,MC, MT, NL, CA 94403 (US). NO, PL, PT, RO, SE, SI, SK, TR), OAPI (BF, BJ, CF, CG, CI, CM, GA, GN, GQ, GW, ML, MR, NE, SN, TD, TG). (72) Inventor; and (75) Inventor/Applicant (for US only): PARKS, Jakob Published: [US/US]; 138 - 37th Avenue, San Mateo, CA 94403 (US). — with international search report — before the expiration of the time limit for amending the (74) Agent: LOHSE, Timothy,W.; DLA PIPER US LLP, 2000 claims and to be republished in the event of receipt of University Avenue, East Palo Alto, CA 94303 (US). amendments (54) Title: INSTRUMENT GAME SYSTEM AND METHOD FIGURE 2 (57) Abstract: A game system and method that uses an instrument as an input encourages a user to play along with the game's soundtrack on an instrument (e.g. guitar, bass, etc.). The game cues the player to play notes and/or chords on the instrument at an appropriate time and then data is collected from the instrument via a connection between the instrument and the apparatus running the game. The game then scores the user based on note/chord and timing information it receives. INSTRUMENT GAME SYSTEM AND METHOD Jakob Parks Priority Claim This application claims priority under 35 USC 119(e) and 120 to U.S. Provisional Patent Application Serial No. 60/902,066 filed on February 20, 2007 entitled "A Music Video Game with Stringed Instrument Input" which is incorporated herein by reference. Field A system and method for game playing is described. In more detail, a system and method for using an instrument as an input to a game and the game with the instrument input is disclosed. Background Video games generally are well known. In addition, video games and gaming system with music type games are also known. The game systems may be both personal computer/gaming console (Microsoft® Xbox® or Sony® Play Station2®) or stand-alone gaming consoles such as might be in an arcade. Examples of these types of games include Dance, Dance Revolution in which a user attempts to follow a dance routine set to music and is scored based on the accuracy of the user's dance routine to the exemplary dance routine and Guitar Hero in which the user has a controller (that looks like a guitar), plays along with a song and is scored based on how closely the user can play the song as compared to the exemplary song. It is desirable to provide a game system and method in which an instrument is the input controller to the game system and it is to this end that the present invention is directed. Brief Description of the Drawings Figure IA illustrates an example of an implementation of a game system; Figure IB illustrates an example of a user interface of a stringed instrument example of the game system; Figure 2 illustrates an example of a user interface of a stringed instrument example of the game system; Figures 3A and 3B illustrate examples of the user interface of a note moving toward the play area of the stringed instrument example of the game system; Figure 3C illustrates another example of the user interface of Figure IB; Figures 4A and 4B illustrate an example of a hit event and a miss event of the stringed instrument example of the game system; Figure 5 illustrate an example of the string, fret and time variables of the stringed instrument example of the game system; Figure 6 illustrates an example of an action indicator interface of the stringed instrument example of the game system; Figure 7 illustrates an example of another action indicator interface of the stringed instrument example of the game system; Figure 8 illustrates yet another example of an action indicator interface of the stringed instrument example of the game system; Figure 9 illustrates yet another example of an action indicator interface of the stringed instrument example of the game system; Figure 10 illustrates an example of a performance meter user interface of the stringed instrument example of the game system; Figure 11 illustrates a method for scoring notes in the stringed instrument example of the game system; Figures 12A and 12B illustrate a hit scoring event and a miss scoring event of the stringed instrument example of the game system; Figure 13 illustrates an example of a method for scoring the notes of the stringed instrument example of the game system; Figure 14 illustrates an example of the stringed instrument example of the game system in which several time windows are used to score a note; Figure 15 illustrates an example of the user interface for selecting a level of difficulty of the stringed instrument example of the game system; Figure 16 illustrates examples of a sequence of notes with different difficulty levels in the stringed instrument example of the game system; Figure 17 illustrates examples of another sequence of notes with different difficulty levels in the stringed instrument example of the game system; Figure 18 illustrates an example of an arrangement of a musical arrangement of the stringed instrument example of the game system; Figure 19 illustrates an example of a menu in the stringed instrument example of the game system; Figure 20 illustrates an example of a select arrangement user interface of the stringed instrument example of the game system; Figures 2 1A and 2IB illustrate an audio and video selection user interface of the game system; Figure 22 illustrates a sound input device and gain user interface of the game system; Figure 23 illustrates an example of a hardware implementation of a video game system that incorporates the stringed instrument example of the game system; and Figure 24 illustrates further details of an analysis module of the exemplary embodiment of the game system shown in Figure IA. Detailed Description of One or More Embodiments The game system and method are particularly applicable to a personal computer based, guitar based game system and method with the exemplary user interface described below and it is in this context that the system and method will be described. It will be appreciated, however, that the system and method has greater utility because: 1) the game system can be implemented with other musical or melodic instruments, such as any melodic instrument including, for example, a bass, violin, banjo, piano, voice, clarinet, steel drums, etc.; 2) it can be implemented on other gaming apparatus, such as gaming consoles or stand alone gaming units (such as the Microsoft® Xbox® system, the Sony® PlayStation®, Nintendo® Wii®, etc.); 3) it can be implemented in peer-to-peer, ASP model, client/server architectures or as an Internet game; and 4) it can be implemented using other user interfaces and features that are not specifically described below in the exemplary embodiments which are provided to illustrate the game system and method. Now, an example of an implementation of the game system to illustrate the functions and principles is described in more detail. Figure IA illustrates an example of an implementation of a game system 80 where the game system is implemented as a software based stand-alone system. The system 80 may include a game unit 81, such as a cabinet or stand-alone unit, and an instrument 82, such as any musical or melodic instruments including, for example, a bass, violin, banjo, piano, voice, clarinet, steel drums, etc., that is used as an input to the game unit 8 1 via an interface 82a such as a USB cable, amplifier cord with adapter for computer sound card, networking cable carrying musical data information, a microphone, etc. The game unit may include a display 83 that is capable of displaying the user interface of the game to the user (an example of which is described below in more detail with reference to Figure IB), one or more processing units 84, a storage unit 86 (that may be a combination of a persistent storage device such as a hard disk drive, ROM, etc.), and a memory such as SRAM or DRAM, and an operating system 88 that controls the operation of the game system and a game module 90 that reside in the storage unit.
Load more

Recommended publications
  • Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla
    The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 5-2008 Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla. Performance and Notational Problems: A Conductor's Perspective Alejandro Marcelo Drago University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Composition Commons, Latin American Languages and Societies Commons, Musicology Commons, and the Music Performance Commons Recommended Citation Drago, Alejandro Marcelo, "Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla. Performance and Notational Problems: A Conductor's Perspective" (2008). Dissertations. 1107. https://aquila.usm.edu/dissertations/1107 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S PERSPECTIVE by Alejandro Marcelo Drago A Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved: May 2008 COPYRIGHT BY ALEJANDRO MARCELO DRAGO 2008 The University of Southern Mississippi INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S PERSPECTIVE by Alejandro Marcelo Drago Abstract of a Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts May 2008 ABSTRACT INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA.
    [Show full text]
  • Neuratron Photoscore Manual
    Neuratron PhotoScore Version 6 User Guide ® www.neuratron.com Edition 1 1997, Edition 2 1998, Edition 3 1999 Edition 4, 5, 6 2000, Edition 7, 8, 9, 10, 11 2001 Edition 12 2002, Edition 13, 14, 15 2003 Edition 16, 17 2005 Edition 18 2006 Edition 19, 20 2007 Edition 21 2009 This User Guide was written by Martin Dawe and Ben Finn. Published by Neuratron Limited. Neuratron PhotoScore was written by Martin Dawe, Richard Cheng, David Dawe, Andrew Hills, Chunhua Hu, Graham Jones and Tristan McAuley. The handwritten music recognition engine was written by Anthony Wilkes. PhotoScore image designed and modeled by Zara Slevin. Neuratron PhotoScore Copyright © 1995 – 2009 Neuratron Limited Neuratron PhotoScore User Guide Copyright © 1997 – 2009 Neuratron Limited OCR (Text recognition) and Linguistic technology by Image Recognition Integrated Systems S.A. © 2000 I.R.I.S. S.A. All rights reserved All rights reserved. This User Guide may not be reproduced, stored in a retrieval system or transmitted in any form or by any means - electronic, recording, mechanical, photocopying or otherwise - in whole or in part, without the prior written consent of the publisher. Although every care has been taken in the preparation of this User Guide, neither the publisher nor the authors can take responsibility for any loss or damage arising from any errors or omissions it may contain. Neuratron, PhotoScore, PhotoScore Ultimate, PhotoScore Lite, neuratron.com, photoscore.com, musicscanning.com, musicocr.com, scorerecognition.com, and Recognizing Intelligence are all registered trademarks or trademarks of Neuratron Ltd. Sibelius is a registered trademark of Avid Technology, Inc.
    [Show full text]
  • Towards a Standard Testbed for Optical Music Recognition: Definitions, Metrics, and Page Images
    Towards a Standard Testbed for Optical Music Recognition: Definitions, Metrics, and Page Images Donald Byrd, Indiana University Bloomington and Jakob Grue Simonsen, University of Copenhagen Early March 2013 Abstract We believe that progress in Optical Music Recognition (OMR) has been held up for years by the absence of anything like the standard testbeds in use in other fields that face difficult evaluation problems. One example of such a field is text IR, where the TREC conference has annually-renewed IR tasks with accompanying data sets. In music informatics, MIREX, with its annual tests and meetings held during the ISMIR conference, is an almost exact analog to TREC; but MIREX has never had an OMR track or a collection of music such a track could employ. We describe why the absence of an OMR testbed is a problem and how this problem may be mitigated or solved outright. To aid in the establishment of a standard testbed, we devise performance metrics for OMR tools that take into account score complexity and graphic quality. Finally, we provide a small corpus of music for use as a miniature baseline for a proper OMR testbed. The Problem and The Solution What is the most accurate Optical Music Recognition (henceforth OMR) system available? A perfectly good answer is “No one knows, and there’s no practical way to find out”. But— considering the enormous variability of music notation—it is unreasonable to expect an answer to such a general question; a more helpful answer would be “It depends”. Consider this question instead: What’s the most accurate OMR system available for a specific kind of music and publication, in digitized page images with given quality? That certainly seems like a reasonable question, but the answer is still “No one knows, and there’s no practical way to find out”.
    [Show full text]
  • An Object-Relational Model for Musical Data
    $Q2EMHFW5HODWLRQDO0RGHOIRU0XVLFDO'DWD 5HVHDUFK5HSRUW Eva Toller, Tore Risch Department of Information Science, Uppsala University, S-751 20 Uppsala, Sweden $EVWUDFW (Binary Large OBject); for example, as an mp3-file. An established way to recognize musical pieces is to store the few first EDUV of the music, called an LQFLSLW or WKHPH (used This paper presents an extended entity-relationship model 7KHPHILQGHU for structured musical databases. Both high-level items like by, for example, , [12]). This is “better than whole pieces of music, down to atomic musical events like nothing” but has two serious limitations. Firstly, it does not single notes, are modelled. The resulting schema has been allow general search and analysis on the whole musical contents. Secondly, its usefulness is mostly limited to implemented in AMOS II, an object-relational multidata- FKRUXV UHIUDLQ base system, with seven short pieces of music as examples. classical music. In many genres the (or )is what is most memorable about a tune, and it is more The model supports analysis and search, rather than sound QRW applications or notational applications. There is an empha- common than not that the refrain is in the beginning. The purpose of this report is to define a model where sis on harmonics (chords), without excluding monophonic VHDUFK DQDO\VLV (melodic) and rhythmic analysis. The user aspect is focused and can be made down to the “lowest level”, more on musical amateurs and performers than on musicol- that is, single tones. Our frame of reference is the standard ogists or people who are buying music on the Web. Western musical notation (score) rather than an audio representation like mp3.
    [Show full text]
  • Lady in the Dark
    The Kurt Weill Edition Series I — Stage Series II — Concert Series III — Screen Series IV — Miscellanea Editorial Board Tim Carter Joel Galand Edward Harsh Stephen Hinton Kim H. Kowalke Giselher Schubert Managing Editor Elmar Juchem Lady in the Dark A Musical Play in Two Acts Book by Moss Hart Music and Lyrics by Kurt Weill and Ira Gershwin CRITICAL REPORT Series I, Volume 16 Edited by bruce d. mcclung and Elmar Juchem Kurt Weill Foundation for Music, Inc. / New York European American Music Corporation / New York Kurt Weill Foundation for Music, Inc., New York, New York European American Music Corporation, New York, New York Lady in the Dark Book by Moss Hart; Music and Lyrics by Kurt Weill and Ira Gershwin This Critical Edition Copyright © 2017 by The Kurt Weill Foundation for Music, Inc. All Rights Reserved Published 2017 Printed in Austria by Plöchl Druck GmbH O The paper in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48-1984. ISBN 978-1-62721-901-3 CONTENTS List of Sources and Sigla 7 Statement of Source Valuation and Usage 9 Commentary: General Issues 17 Critical Notes 21 Source Descriptions 127 Abbreviations 135 Kurt Weill Edition Personnel 136 Credits and Acknowledgments for this Volume 137 LIST OF SOURCES AND SIGLA SOURCES ADDITIONAL MATERIALS Full Score Format Drafts Fh Holograph full score (1940–41) Dh Holograph drafts and sketches (1940–41) Fh(R) Photostat copy of Fh (before 1948) Fh-misc Three items separated
    [Show full text]
  • Tutorial & Reference Manual
    TUTORIAL & REFERENCE MANUAL Compiled by Luis E. Juan, 2002 r. 05 2 INDEX TUTORIAL .................................................................................................................................................... 9 RUNNING ENCORE ................................................................................................................................. 9 OPENING A FILE..................................................................................................................................... 9 SPLITTING THE STAFF .......................................................................................................................... 10 SETTING THE KEY SIGNATURE.............................................................................................................. 11 ADDING A PICKUP BAR......................................................................................................................... 12 ENTERING A NOTE ............................................................................................................................... 13 MIDI PLAYBACK .................................................................................................................................. 14 ADDING MEASURE NUMBERS ............................................................................................................... 17 DRAGGING TO A NEW PITCH................................................................................................................. 17 ENTERING AN ACCIDENTAL..................................................................................................................
    [Show full text]
  • Three-Dimensional Motion Aftereffects Reveal Distinct Direction-Selective Mechanisms for Binocular Processing of Motion Through Depth
    Journal of Vision (2011) 11(10):18, 1–18 http://www.journalofvision.org/content/11/10/18 1 Three-dimensional motion aftereffects reveal distinct direction-selective mechanisms for binocular processing of motion through depth Center for Perceptual Systems, Department of Psychology, & Section of Neurobiology, The University of Texas at Austin, Thaddeus B. Czuba Austin, TX, USA Department of Psychology, University of Wisconsin-Madison, USA,& Division of Experimental Psychology, Bas Rokers Utrecht University, The Netherlands Center for Perceptual Systems, Department of Psychology, & Section of Neurobiology, The University of Texas at Austin, Kyle Guillet Austin, TX, USA Center for Perceptual Systems, Department of Psychology, & Section of Neurobiology, The University of Texas at Austin, Alexander C. Huk Austin, TX, USA Center for Perceptual Systems, Department of Psychology, & Section of Neurobiology, The University of Texas at Austin, Lawrence K. Cormack Austin, TX, USA Motion aftereffects are historically considered evidence for neuronal populations tuned to specific directions of motion. Despite a wealth of motion aftereffect studies investigating 2D (frontoparallel) motion mechanisms, there is a remarkable dearth of psychophysical evidence for neuronal populations selective for the direction of motion through depth (i.e., tuned to 3D motion). We compared the effects of prolonged viewing of unidirectional motion under dichoptic and monocular conditions and found large 3D motion aftereffects that could not be explained by simple inheritance of 2D monocular aftereffects. These results (1) demonstrate the existence of neurons tuned to 3D motion as distinct from monocular 2D mechanisms, (2) show that distinct 3D direction selectivity arises from both interocular velocity differences and changing disparities over time, and (3) provide a straightforward psychophysical tool for further probing 3D motion mechanisms.
    [Show full text]
  • Cubase Pro Score 9.5.30
    Score Layout and Printing Cristina Bachmann, Heiko Bischoff, Lillie Harris, Christina Kaboth, Insa Mingers, Matthias Obrecht, Sabine Pfeifer, Benjamin Schütte, Marita Sladek This PDF provides improved access for vision-impaired users. Please note that due to the complexity and number of images in this document, it is not possible to include text descriptions of images. The information in this document is subject to change without notice and does not represent a commitment on the part of Steinberg Media Technologies GmbH. The software described by this document is subject to a License Agreement and may not be copied to other media except as specifically allowed in the License Agreement. No part of this publication may be copied, reproduced, or otherwise transmitted or recorded, for any purpose, without prior written permission by Steinberg Media Technologies GmbH. Registered licensees of the product described herein may print one copy of this document for their personal use. All product and company names are ™ or ® trademarks of their respective owners. For more information, please visit www.steinberg.net/trademarks. © Steinberg Media Technologies GmbH, 2018. All rights reserved. Cubase Pro_9.5.30_en-US_2018-05-22 Table of Contents 5 Introduction 49 Cut, copy, and paste 5 Platform-Independent Documentation 50 Editing pitches of individual notes 5 About the Documentation 51 Changing the length of notes 6 Conventions 53 Splitting a note in two 7 Key Commands 53 Working with the Display Quantize tool 53 Split (piano) staves 8 How the Score Editor works 54 Strategies: Multiple staves 8 About this chapter 55 Inserting and editing clefs, keys, or time 8 Welcome! signatures 8 How the Score Editor operates 57 Deleting notes 8 MIDI notes vs.
    [Show full text]
  • Open Source Tools for Music Representation and Notation Dominique Fober, Stéphane Letz, Yann Orlarey
    Open source tools for music representation and notation Dominique Fober, Stéphane Letz, Yann Orlarey To cite this version: Dominique Fober, Stéphane Letz, Yann Orlarey. Open source tools for music representation and notation. Sound and Music Computing Conference, 2004, Paris, France. pp.91-95. hal-02158800 HAL Id: hal-02158800 https://hal.archives-ouvertes.fr/hal-02158800 Submitted on 18 Jun 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. OPEN SOURCE TOOLS FOR MUSIC REPRESENTATION AND NOTATION D.Fober, S.Letz, Y.Orlarey Grame - Centre national de creation´ musicale {fober, letz, orlarey}@grame.fr ABSTRACT playing, for notation or for information retrieval are gener- ally optimized in different ways. This is probably the main Although numerous systems and applications exist for mu- reason that has led to a proliferation of languages and for- sic representation and graphic notation, there are few re- mats for music description [5] [6] [7]. These formats are sources available to developers. We present two open source too numerous to be discussed here. An impressive work of projects that aim at making up for this lack of compo- Gerd Castan provides a good and updated source of infor- nents: the MusicXML library, intended to support the Mu- mation online [8] concerning music notation formats and sicXML format and to provide music notation exchange including related tools.
    [Show full text]
  • Markvcid Evaluator's Instructions Manual for the Neuropsychological Testing Battery Remote Administration
    MarkVCID Evaluator's Instructions Manual for the Neuropsychological Testing Battery Remote Administration Version 1.0, Nov 2020 MarkVCID Consortium By the MarkVCID Clinical Data, Physiological Data & Cognitive Assessments Subcommittee (Deborah Blacker, MD, ScD, Chair) and Coordinating Center (PI Steven Greenberg, MD, PhD). Based in substantial part on the Uniform Data Set 3.0 of the National Alzheimer's Coordinating Center. Reproduced with permission. Copyright 2006, 2008, 2015, 2017 University of Washington. Created and published by the ADC Clinical Task Force (John C. Morris, MD, Chair) and the National Alzheimer's Coordinating Center (U01 AG 016976 - Walter A. Kukull, PhD, Director). The MarkVCID Consortium is funded by the National Institutes of Health through the National Institute of Neurological Disorders and Stroke and National Institute on Aging (Cooperative Agreement U24NS100591). MarkVCID Evaluator’s Instructions Manual for the Neuropsychological Testing Battery1 REMOTE ADMINISTRATION Table of Contents Introduction to Remote Cognitive Assessment ...................................................................................................................................................................................... 2 MoCA-Blind Instructions ............................................................................................................................................................................................................................ 7 MoCA-Blind Administration .................................................................................................................................................................................................................
    [Show full text]
  • Automatic Justification and Line Breaking of Music Sheets P
    Automatic Justification and Line Breaking of Music Sheets P. Bellini, P. Nesi Dept. of Systems and Informatics, University of Florence V. S. Marta, 3 50139 Florence, Italy Tel: +39-055-4796523, Fax: +39-055-4796523 Reference contact person: [email protected] ABSTRACT Automated music formatting helps composers and copyists to speed up the process of music score editing by facilitating complex evaluations needed to produce music sheets in terms of symbol positioning, justification, etc. Music justification is a complex task to be automatically performed. It involves the evaluation of a large number of parameters and requires context evaluation. In this paper, the approach adopted in a justification engine of a European Research project is presented. The approach solves many of the problems of music justification: alignment of simultaneous symbols in polyphonic music, spacing dependent from the duration of the figures, compactness and readability of the resulting measure, justification of both main scores and parts. In the paper, several justification algorithms are described and compared. Stretching and shrinking of measures is also possible, while keeping the justification through a tuning parameter. The resulting algorithm can also handle automatically many music notation exceptions: for example time inconsistency of the justified measure and presence of non-durational figures, grace notes, change of clef/key signature, etc. The solution proposed presents a module for music line-breaking. This is included in the justification engine as an option for visualizing and printing right margined music sheets. Several examples are reported to highlight both the problems and the solutions adopted. Index Terms: user interface, automatic formatting, music sheet, music formatting, space management, justification, beat-line, simultaneities, line breaking.
    [Show full text]
  • Musical Score Checklist Prepared by David Young
    Musical Score Checklist Prepared by David Young This manuscript details a comprehensive list of items that one should “double checked” in musical score preparation. These explanations correspond to headings found on re-usable notation checklists. Please note, the appropriate fonts, points, formatting, positioning, and styles of music elements depend upon the standards of your engraver or publisher, or your personal preferences. Use the spaces below to insert your preferences and keep track of them. Please note, your choices may be different for a string quartet than for a symphony. Please use this checklist as a reminder for standards required by your publisher, ensemble, conductor or your personal style. Use it to be consistent. In addition, I am providing my choices for my manuscripts. Many of these are somewhat different than the choices of more experienced, professional engravers. I strongly urge that you explore your options carefully, consult engraving manuals, and the organizations such as MOLA (Major Orchestra Librarians’ Association - http://www.mola-inc.org/ ) I. Notation elements that can be defined in templates The items listed here require only a focused review if the template used in the composition has already been carefully prepared and checked. Template are useful if one intends to write a number of similarly scored compositions, or simply writing a multi-movement work, where each movement is saved as a separate file. Paper size — I am assuming 11.5 x 8.5 here (default) Change as needed. Page margins — Check for correct margin distances Page margins need to be set to suitably present the music. A published manuscript requires attention to ensure consistency in page and margin formatting.
    [Show full text]